PartVTheVictorianAge

(1832-1901)PartVTheVictorianAge

(18321ChapterIASurveyofthe

VictorianPeriod(1)Definition:theVictorianPeriodroughlycoincideswiththereignofQueenVictoriawhoruledoverEngland

from1837to1901.oneofthemostGloriousperiodintheEnglishhistoryChapterIASurveyofthe

V21837年，18歲的女王維多利亞登基.新女王在繼位之前的日記中寫道：既然上帝把我置于這個國家的王位上，我將盡力履行自己的職責(zé)。我尚年輕，可能在許多方面缺乏經(jīng)驗(yàn)，但我肯定，幾乎無人像我這樣懷著為國為民的良好意愿和真切希望。女王充分實(shí)現(xiàn)了自己的諾言：她在其一生中模范地履行了立憲君主的職責(zé)，因此深受國民的愛戴；她還是那個時代道德風(fēng)尚的典范，她是賢妻良母，也是優(yōu)秀的一家主婦。她自己生活嚴(yán)謹(jǐn)，工作刻苦，對別人又充滿責(zé)任感。在許多國人眼中，她就是那個時代的縮影，她漫長的63年在位時期則是國家繁榮昌盛的頂峰.在英國所有國王中，她享有盛譽(yù)，這不是因?yàn)樗龀隽耸裁崔Z動的事業(yè)，而是因?yàn)樗裁炊疾蛔?，而僅僅恪守立憲君主的本分，做她那個時代的表率。

1837年，18歲的女王維多利亞登基.3(2)Background:

developedrapidlybothpolitically&economically(capitalismfirsttookshape,agriculturaltoindustrialsociety

TheEarlyVictorianPeriod(1832-1848)

rapideconomicdevelopment+serioussocialproblems.Yetbeneaththegreatprosperity&richness,thereexistedwidespreadpoverty&wretchednessamongtheworkingclass.(2)Background:developedrapi4英國文學(xué)維多利亞時期全集ppt課件5Theworseningliving&workingconditions,themassunemployment&thenewPoorLawof1834finallygaverisetotheChartistMovement(1836-1848).TheMid-VictorianPeriod(1848-1970)Duringthenexttwentyyears,Englandsettleddowntoatimeofprosperity&relativestability.Themiddle-classlifeofthetimewascharacterizedbyprosperity,respectabilityandmaterialprogress.Theworseningliving&working6維多利亞時代中期，英國達(dá)到強(qiáng)盛的頂峰，當(dāng)時它的工業(yè)生產(chǎn)能力比全世界的總和還要大，維多利亞中期的英國為他們的無可匹敵的地位洋洋得意，它這時是世界的貿(mào)易中心：北美和俄國的平原是我們的玉米地；芝加哥和敖德薩是我們的糧倉；加拿大和波羅的海是我們的林場；澳大利亞、西亞有我們的牧羊地；阿根廷和北美的西部草原有我們的牛群；秘魯運(yùn)來它的白銀；南非和澳大利亞的黃金則流到倫敦；印度人和中國人為我們種植茶葉；而我們的咖啡、甘蔗和香料種植園則遍及印度群島；西班牙和法國是我們的葡萄園；地中海是我們的果園；長期以來早就生長在美國南部的我們的棉花地，現(xiàn)在正在向地球的所有的溫暖區(qū)域擴(kuò)展。

維多利亞時代中期，英國達(dá)到強(qiáng)盛的頂峰，當(dāng)時它的工業(yè)生產(chǎn)能力比7英國文學(xué)維多利亞時期全集ppt課件8英國文學(xué)維多利亞時期全集ppt課件9Victoriankeywords:

Family,work,morality,money,justice,competitionVictoriankeywords:

Family,w10TheLateVictorianPeriod(1870-1901)ButthelastthreedecadesofthecenturywitnessedthedeclineoftheBritishEmpireandthedecayoftheVictorianvalues.Therapiddevelopmentofscience&technology,newinventions&discoveriesingeology,astronomy,biology&anthropologydrasticallyshookpeople'sreligiousconvictionsandbeliefs.TheLateVictorianPeriod(18711Darwin’sTheOriginofSpecies(1859)&TheDescentofMan(1871)shookthetheoreticalbasisofthetraditionalfaith.Ontheotherhand,Utilitarianism實(shí)用主義waswidelyaccepted&practiced.(Almosteverythingwasputtothetestbythecriterionofutility,thatis,theextenttowhichitcouldpromotethematerialhappiness.)Darwin’sTheOriginofSpecies12ChapterIItheVictorianLiteraturemagnitude眾多&diversity:GreatwritersandgreatworksaboundedItwasmany-sided,complex,reflectedbothromanticallyandrealisticallythegreatchangesthatweregoingoninpeople'slifeandthought.ChapterIItheVictorianLiter13Victorianliterature,ingeneral,truthfullyrepresentsthereality&spiritoftheage.Thehigh-spiritedvitality,thedown-to-earthearnestness,thegood-naturedhumorandunboundedimaginationareallunprecedented空前的.Inalmosteverygenreitpavedthewayforthecomingcentury,whereitsspirits,values&experimentsaretowitnesstheirharvest.

Victorianliterature,ingener14VictorianNovelVictorianPoetryTheNineties/AestheticismVictorianNovel15ChapterIII

VictorianNovels

thenovelbecamethedominantgenrePlotisunfoldedagainstasocialbackground“l(fā)inearcausation”:cause-effectsequenceTaintedbythespiritofpuritanismoftheVictorianAge/Moralpurposetheywereall

concernedaboutthefateofthecommonpeopleChapterIIIVictorianNovels

t16Whilestickingtotheprincipleoffaithfulrepresentationofthe18th-centuryrealisticnovel,novelistsinthisperiodcarriedtheirdutyforwardtothecriticismofthesociety.Theywereangryattheinhumansocialinstitutions,thedecayingsocialmoralityasrepresentedbythemoney-worship&Utilitarianism&thewidespreadmisery,poverty&injustice.

Whilestickingtotheprincipl17Theirtruthfuldepictionofpeople'slife&bitter&strongcriticismofthesocietyhaddonemuchinawakeningthepublicconsciousnesstothesocialproblems&intheactualimprovementofthesociety.Romanticfiction:picturesque,heroicthanrealdailylifeRealisticfiction:accuratereflectionofreallifeTheirtruthfuldepictionofpe18.CharlesDickens(1812-1870)thegreatestrepresentiveofEnglishcriticalrealismBornatPortsmouth,hisfatherwasputintotheprisonfordebtwhenhewasonly12Workedinundergroundshoe-blackingthenlawyer’sofficeasajuniorclerkIn1835,becameareporter,lateraneditor,manager.CharlesDickens(1812-1870)19HisMajorWorksUponhisdeath,Dickenslefttotheworld15novels&anumberofshortstories.Theyofferamostcomplete&realisticpictureofEnglishsocietyofhisage&remainthehighestachievementinthe19th-centuryEnglishnovel.Innearlyallhisnovels,behindthegloomypicturesofoppression&poverty,behindtheloudhumor&buffoonery滑稽,ishisgentleness,hissimplefaithinmankind.HisMajorWorksUponhisdeath20英國文學(xué)維多利亞時期全集ppt課件21ImportantWorks&CharactersThefirstperiod—youthfuloptimistThePickwickPapers(thesupremeepicofEnglishlife):Mr.Pickwick,SamWellerOliverTwist(adescriptionofthelower-depth)NicholasNickleby:Mr.SqueersTheOldCuriosityShop:Trent,NellImportantWorks&Characters222)Thesecondperiod—excitement&irritationMartinChuzzlewit:Chuzzlewit.Mr.PecksniffAChristmasCarolDombeyandSon:Dombey.Edith,CarkerDavidCopperfield(Dickens’sownfavourite):Mr.Murderstone,ClaraPeggotty,Steerforth,Dora,UriahHeep2)Thesecondperiod—excitemen23TheThirdPeriod—HislossofhopeforEnglishbourgeoissocietyBleakHouse:LordChancellorHardTimes:Mr.GradgrindLittleDorrit:WilliamDorritATaleofTwoCities:Dr.Manetter,Lucie,Defoarge,CharlesDarnay,SidneyCarton,MademeDefargeGreatExpectationsTheThirdPeriod—Hislossofh24(1)PeriodofyouthfuloptimistOliverTwist(1837-1838)TheOldCuriosityShop(1840-1841);(2)Periodofexcitement&irritationDombey&Son(1846-1848);DavidCopperfield(1849-1850)(3)PeriodofsteadilyintensifyingpessimismBleakHouse(1852-1853);HardTimes(1854);ATaleofTwoCities(1859);GreatExpectations(1860-1861);英國文學(xué)維多利亞時期全集ppt課件25livelyCharacterSketches&ExaggerationcertainpeculiaritiesbytheuseofexaggerationBroadHumor&PenetratingSatire

themainplotisofteninterwovenwithmorethanonesub-plotsothatabroaderviewoflifemaybeintroducedThePowerofExposure:Dickensmadehisnoveltheinstrumentofmorality&justice.EachofhisnovelsrevealsaspecificsocialproblemDistinctFeaturesofHisNovelslivelyCharacterSketches&Ex26DistinctFeaturesofHisNovels(1)CharacterSketches勾畫&ExaggerationInhisnovelsarefoundabout19hundredfigures,someofwhomarereallysuch"typicalcharactersundertypicalcircumstances,"thattheybecomerepresentativeofawholegroupofsimilarpersons.DistinctFeaturesofHisNovel27Asamasterofcharacterization,Dickenswasskillfulindrawingvividsketchesbyexaggeratingsomepeculiarities特性,&ingivingthemexactlytheactions&wordsthatfitthem:thatis,rightwords&rightactionsfortherightperson.Asamasterofcharacterizatio28(2)BroadHumor&PenetratingSatireDickensiswellknownasahumoristaswellasasatirist.Hesometimesemployshumortoenliven使…生動asceneorlightenacharacterbymakingit(himorher)eccentric古怪,orlaughable.Sometimesheusessatiretoridicule奚落humanfollies罪惡orvices惡性,withthepurposeoflaughingthemoutofexistenceorbringaboutreform.(2)BroadHumor&Penetrating29(3)Complicated&FascinatingPlotDickensseemstolovecomplicatednovelconstructionswithminorplotsbesidethemajorone,ortwoparallelmajorplotswithinonenovel.Heisalsoskillfulatcreatingsuspense&mysterytomakethestoryfascinating.(3)Complicated&Fascinating30(4)ThePowerofExposureAsthegreatestrepresentativeofEnglishcriticalrealism,Dickensmadehisnoveltheinstrumentofmorality&justice.Eachofhisnovelsrevealsaspecificsocialproblem.(4)ThePowerofExposure31NovelTextTextTextTextPlotCharacterSettingNarrativeLanguageThemeNovelTextTextTextTextPlotChara321.ThemeThecentralideaorstatementaboutlifethatunifiesandcontrolsthetotalworkIdentifyingthethemeToavoidconfusingawork’sthemewithitssubjectorsituation.Thestatementofthemedoestheworkfulljustice.

ElementsofFiction1.ThemeElementsofFiction33Itisfullyandcompletelysupportedbythework’sotherelements.Thetitleoftheworkoftensuggestsaparticularfocusoremphasisforthereader’sattention.2.

PlotandstructureTheactioninfiction,thearrangementofeventsthatmakeupastoryItisfullyandcompletelysup34Plotsturnonaconflict,orstrugglebetweenopposingforces,i.e.howoneactionleadsintoanother.Structureisthedesignorformoftheaction,i.e.patternsandtheshapeofcontent.Theclassicpatternexposition,complication,crisis,fallingaction,andresolutionPlotsturnonaconflict,ors35AnalyzingPlotWhataretheconflictsonwhichtheplotturns?Aretheyexternal,internal,orsomecombinationofthetwo?Whatarethechiefepisodesorincidentsthatmakeuptheplot?Isitsdevelopmentstrictlychronological,oristhechronologyrearrangedinsomeway?Comparetheplot’sbeginningandend.Whatessentialchangeshavetakenplace?AnalyzingPlot36Describetheplotintermsofitsexposition,complication,crisis,fallingaction,andresolution.Istheplotunified?Dotheindividualepisodeslogicallyrelatetooneanother?Istheendingappropriatetoandconsistentwiththerestoftheplot?Istheplotplausible?Whatrole,ifany,dochanceandcoincidenceplay?Describetheplotintermsof37Themajor,orcentral,characteroftheplotistheprotagonist.Theopponent,thecharacteragainstwhomtheprotagoniststrugglesorcontends,istheantagonist.Flatcharacters

arethosewhoembodyorrepresentasinglecharacteristic,trait,oridea,oratmostaverylimitednumberofsuchqualities.(typecharacters,one-dimensionalcharacters)Themajor,orcentral,charact383.

CharacterCharactersareimaginarypeoplethatwriterscreate.Concernedwithbeingabletoestablishthepersonalitiesofthecharactersandtoidentifytheirintellectual,emotional,andmoralqualities.Concernedwiththetechniquestocreateanddevelopcharacters.Concernedwithwhetherthecharactersarecredibleandconvincing.3.

Character39Roundcharactersarejusttheopposite.Theyembodyanumberofqualitiesandtraits,andarecomplexmulti-dimensionalcharactersofconsiderableintellectualandemotionaldepth.Mostimportantly,theyhavethecapacitytogrowandchange.Roundcharactersarejustthe40MethodsofCharacterizationCharacterizationthroughtheuseofnames.Characterizationthroughappearance.Characterizationbytheauthor.Characterizationthroughdialogue.Characterizationthroughaction.MethodsofCharacterization41AnalyzingCharacterWhoistheprotagonistoftheworkandwho(orwhat)istheantagonist?Describethemajortraitsandqualitiesofeach.Whatisthefunctionofthework’sminorcharacters?Identifythecharactersintermsofwhethertheyareflatorround,dynamicorstatic.

AnalyzingCharacter42Whatmethodsdoestheauthoremploytoestablishandrevealthecharacters?Arethemethodsprimarilyofshowingortelling?Aretheactionsofthecharactersproperlymotivatedandconsistent?Arethecharactersoftheworkfinallycredibleandinteresting?Whatmethodsdoestheauthore434.

SettingSettingisboththephysicallocalethatframestheactionandthetimeofdayoryear,theclimaticconditions,andthehistoricalperiodduringwhichtheactiontakesplace.4.

Setting44Thefunctionsofsetting:Settingasabackgroundforaction.SettingasantagonistSettingasmeansofcreatingappropriateatmosphere.Settingasameansofrevealingcharacter.Settingasameansofreinforcingtheme.Thefunctionsofsetting:45AnalyzingsettingWhatisthework’ssettinginspaceandtime?Howdoestheauthorgoaboutestablishingsetting?Doestheauthorwantthereadertoseeorfeelthesetting;ordoestheauthorwantthereadertobothseeandfeelit?Whatdetailsofsettingdoestheauthorisolateanddescribe?Analyzingsetting46Isthesettingimportant?Ifso,whatisitsfunction?Isitusedtoreveal,reinforce,orinfluencecharacter,plot,ortheme?Isthesettinganappropriateone?Isthesettingimportant?475.

PointofviewThemethodofnarrationthatdeterminestheposition,orangleofvisionfromwhichthestoryistold.CommonlyusedpointsofviewThird-personpointofviewomniscientThird-personpointofviewlimitedFirst-personpointofview5.

Pointofview48AnalyzingpointofviewWhatisthepointofview;whotalkstothereader?Isthepointofviewconsistentthroughouttheworkordoesitshiftinsomeway?Wheredoesthenarratorstandinrelationtothework?Wheredoesthereaderstand?Towhatsourcesofknowledgeorinformationdoesthepointofviewgivethereaderaccess?Whatsourcesofknowledgeorinformationdoesitservetoconceal?Analyzingpointofview49Iftheworkistoldfromthepointofviewofoneofthecharacters,isthenarratorreliable?Doeshisorherpersonality,character,orintellectaffectanabilitytointerprettheeventsortheothercharacterscorrectly?Giventheauthor’spurposes,isthechosenpointofviewanappropriateandeffectiveone?Howwouldtheworkbedifferentiftoldfromanotherpointofview?Iftheworkistoldfromthep506.LanguageandstyleStyleconsistsofdiction(theindividualwordsanauthorchooses)andsyntax(thearrangementofthosewords),aswellassuchdevicesasrhythmandsound,allusion,ambiguity,irony,paradox,andfigurativelanguage.Eachwriter’sstyleisunique.Itconstituteshis“signature”inawaythatsetshisworkapart.Diction:thetypeandqualityoftheindividualwordsthatcompriseanauthor’sbasicvocabulary.Thedenotativemeaningofwords,6.Languageandstyle51Theconnotativemeaning;Thedegreeofconcretenessorabstractness;Thedegreeofallusiveness;thepartsofspeechtheyrepresent;Thelengthandconstruction;Thelevelofusagetheyreflect(standardornonstandard;formal,informal,orcolloquial);Theimagerytheycontain;Thefigurativedevices(simile,metaphor,personification,etc,)theyembody;Theconnotativemeaning;52Syntax:Thewaystheauthorarrangeswordsintophrases,clauses,andfinallywholesentencestoachieveparticulareffects.Thelength—whethertheyareshort,spare,andeconomicalorlongandinvolved;Theform—whethertheyaresimple,compound,orcomplex;Syntax:53TheconstructionLoosesentencesthatfollowthenormalsubject-verb-objectpattern,statingtheirmainideanearthebeginningintheformofanindependentclausePeriodicsentencesthatdeliberatelywithholdorsuspendthecompletionofthemainideauntiltheendofthesentence,Balancedsentencesinwhichtwosimilarorantitheticalideasarebalanced.

Theconstruction54DavidCopperfield

(1849-1850)DavidCopperfield(1849-1850)55DavidissentbyhisstepfatherMr.MurderstonetoworkinawarehouseandboardwiththeMicawberfamily,whosehostislikeDickens’father,improvidentandoptimistic.Hemarrieshisemployer’sdaughterDora,aprettybutempty-headedwoman.ShesoondiesandDavidbecomesafamouswriterlaterandhefinallywedsAgnes,thewomanhehaslovedallhislife.Davidissentbyhisstepfathe56WilkinsMicawberwasmodeledonDickens'father,JohnDickens,whoalsoendedupinadebtor'sprison(theKing'sBenchPrison)afterfailingtomeetthedemandsofhiscreditors.Heiscontinuallyindebtandlookingfor“somethingtoturnup”.Theimpecunious身無分文的andloveableMicawberallowsDickenstoventsomefeelingsabouthisfather.WilkinsMicawberwasmodeledo57Appearance:"astoutish,middle-agedperson,inabrownsurtoutandblacktightsandshoes,withnomorehairuponhishead(whichwasalargeone,andveryshining)thanthereisuponanegg,andwithaveryextensiveface.Hisclotheswereshabby,buthehadanimposingshirt-collaron.Hecarriedajauntysortofastick,withalargepairofrustytasselstoit;andaquizzing-glasshungoutsidehiscoat,-forornament,Iafterwardsfound,asheveryseldomlookedthroughit,andcouldn'tseeanythingwhenhedid".

Appearance:58Language:Welcomepoverty!.Welcomemisery,welcomehouselessness,welcomehunger,rags,tempest,andbeggary!Mutualconfidencewillsustainustotheend!Boy,asIhavefrequentlyhadoccasiontoobserve:"Whenthestomachisempty,thespiritsarelow!"Remembermymotto"NilDesperandum!-Neverdespair!"Language:59Hislong-sufferingwife,Emma,stoodbyhimthroughthickandthin,despitethefactthatherdeceasedfatherhadtobailhimoutonmanyoccasions,andhiscircumstancesforceshertopawn抵押allherfamilyheirlooms傳家寶.Themaximsshelivesbywere:"IwillneverdesertMr.Micawber!"Hislong-sufferingwife,Emma,60Hisnamehasbecomesynonymouswithsomeonewholivesinhopefulexpectation.Thishasformedthebasisforthe"MicawberPrinciple",baseduponhisobservation:"Annualincometwentypounds,annualexpenditurenineteensix,resulthappiness.Annualincometwentypounds,annualexpendituretwentypoundsoughtandsix,resultmisery."Hisnamehasbecomesynonymous61Eternallyoptimistic,certain"somethingwillturnup"topayhishugedebts.

Mr.Micawberisahalf-critical,half-affectionateportraitofDickens'ownimprovidentfather.Micawber–Heisalwaysimpoverishedbutoptimistic,akindhearted,butineffective,incurableoptimistEternallyoptimistic,certain62Assignment:ReadthroughP325-333,362-371.Let’sinviteWangLutointroduceAlfredTennyson;LiLvhuaandLiDexiantoreadandsharetheirhistwopoems.Let’sinvite

LuJuntointroduceRobertBrowning;QiaoHongweiandZhangXuntotoreadandsharetheirhistwopoems.p.s.3minutesforeachstudentAssignment:63ATaleofTwoCities(1859)historicalnovelbyCharlesDickens.TheplotcentresontheyearsleadinguptotheFrenchRevolutionandculminatesintheJacobin

ReignofTerror.Plot:Thebooktells,firstandforemost,thestoryofCharlesDarnayandSydneyCarton,wholooksimilarbutareverydifferentintheirpersonalities.DarnayisaromanticFrencharistocrat;CartonisacynicalEnglishbarrister.Bothfalldeeplyinlovewiththesamewoman,LucieManette.ATaleofTwoCities(1859)his64Theauthor'sprimarysourcewasTheFrenchRevolution:AHistorybyThomasCarlyle,whoseviewthathistoryfollowsacycleofdestructionandresurrectionwasanimportantinfluence,illustratedespeciallywellinthelifeanddeathofSydneyCarton.Theauthor'sprimarysourcewa65ThetwocitiesreferredtointhetitleareLondonandParis.Throughoutthenovel,pairsofpeople,places,etc.arecomparedandcontrasted.SydneyCarton–quickmindedbutdepressedEnglishbarristerandalcoholic;akeycharacterinthethemeofredemptionLucieManette–youngFrenchwomanlovedbybothCartonandCharlesDarnayCharlesDarnay–respectableyoungFrenchmanwhodeteststhearistocrats,thoughheisonehimself,Thetwocitiesreferredtoin66Dickens'taleontheFrenchRevolutionisbalanced:hedescribesthehorrorsandatrocitiescommittedbybothsides.ThenovelconcludeswiththedeathofSydneyCarton.Ifhehadanychancetoexpresshisfinalthoughts,theywouldbefullofprophecy:manyoftherevolutionaries,includingMonsieurDefarge,wouldbesenttotheguillotinethemselves,andafuturechildofCharlesandLucieDarnaywouldbenamedafterCartonDickens'taleontheFrenchRe67ThemesThemesarethefundamentalandoftenuniversalideasexploredinaliterarywork.ATaleofTwoCitiesisamoralnovelstronglyconcernedwiththemesofresurrection,redemption,revolution,sacrifice,shame,socialinjusticeandviolence.ThemesThemesarethefundament68Resurrection,therefore,becomesthepredominantthemeofthefinalpartofthenovel.Darnayisrescuedatthelastmomentandrecalledtolife;Cartonchoosesdeathandresurrectiontoalifebetterthanthatwhichhehaseverknown:"itwasthepeacefullestman'sfaceeverbeheldthere[...]helookedsublimeandprophetic".Dickens,inconclusion,foreseesanewandimprovedsocialorder,risingfromtheashesofthedestructionwhichprecededit.英國文學(xué)維多利亞時期全集ppt課件69【約11:25】耶穌對她說，復(fù)活在我，生命也在我。信我的人，雖然死了，也必復(fù)活。Jesussaiduntoher,Iamtheresurrection,andthelife:hethatbelievethinme,thoughheweredead,yetshallhelive:【約11:26】凡活著信我的人，必永遠(yuǎn)不死。你信這話嗎？Andwhosoeverlivethandbelievethinmeshallneverdie.Believestthouthis?【約11:25】耶穌對她說，復(fù)活在我，生命也在我。信我的人70【約15:12】你們要彼此相愛，像我愛你們一樣，這就是我的命令。Thisismycommandment,Thatyeloveoneanother,asIhavelovedyou.【約15:13】人為朋友舍命，人的愛心沒有比這個大的。Greaterlovehathnomanthanthis,thatamanlaydownhislifeforhisfriends.【約15:12】你們要彼此相愛，像我愛你們一樣，這就是我的71TheEver-PresentPossibilityofResurrection

ThenarrativesuggeststhatSydneyCarton’sdeathsecuresanew,peacefullifeforLucieManette,CharlesDarnay,andevenCartonhimself.Bydeliveringhimselftotheguillotine,Cartonascendstotheplaneofheroism,becomingaChrist-likefigurewhosedeathservestosavethelivesofothers.Moreover,thefinalpagesofthenovelsuggestthat,likeChrist,Cartonwillberesurrected—Cartonisrebornintheheartsofthosehehasdiedtosave.TheEver-PresentPossibilityo72Similarly,thetextimpliesthatthedeathoftheoldregimeinFrancepreparesthewayforthebeautifulandrenewedParisthatCartonsupposedlyenvisionsfromtheguillotine.AlthoughCartonspendsmostofthenovelinalifeofindolenceandapathy,thesupremeselflessnessofhisfinalactspeakstoahumancapacityforchange.Althoughthenoveldedicatesmuchtimetodescribingtheatrocities暴行committedbothbythearistocracyandbytheoutragedpeasants,itultimatelyexpressesthebeliefthatthisviolencewillgivewaytoanewandbettersociety.Similarly,thetextimpliesth73TheNecessityofSacrificesacrificeisnecessarytoachievehappiness.Dickensexaminesthissecondtheme,again,onbothanationalandpersonallevel.Forexample,therevolutionariesprovethatanew,egalitarianFrenchrepubliccancomeaboutonlywithaheavyandterriblecost—personallovesandloyaltiesmustbesacrificedforthegoodofthenationTheNecessityofSacrificesac74Mostimportant,Carton’stransformationintoamanofmoralworthdependsuponhissacrificingofhisformerself.Inchoosingtodieforhisfriends,Cartonnotonlyenablestheirhappinessbutalsoensureshisspiritualrebirth.

Mostimportant,Carton’strans75TheTendencytowardViolenceandOppressioninRevolutionariesDickensdeeplysympathizeswiththeplightoftheFrenchpeasantryandemphasizestheirneedforliberation.AlthoughDickenscondemnsthisoppression,however,healsocondemnsthepeasants’strategiesinovercomingit.Forinfightingcrueltywithcruelty,thepeasantseffectnotruerevolution;rather,theyonlyperpetuatetheviolencethattheythemselveshavesuffered.TheTendencytowardViolencea76ThetitlereflectsthewayinwhichthesettingalternatesbetweenLondonandParis.Twoofthe45chaptersaresetinbothcountries,nineteeninEnglandand24inFrance.Theytelloftheshamelesscorruption,abuseandinhumanityoftheFrenchnoblestowardsthepeasantry.Themasses,oppressedforcenturies,riseupatlastanddestroytheirmasters,becomingthemselvesjustasevilandcorrupt.Thetitlereflectsthewayin77WilliamMakepeaceThackeray(1811-1863)

areprehensiveofEnglishcriticalrealisminthe19thcentury;Hisnovelsaremainlyasatiricalportrayaloftheupperclassofsociety.subtlehumor,caustic刻薄的satire,vividdescriptionsandwonderfulnarration,allshowninVanityFair,ThackeraycanbeplacedonthesamelevelasDickens,asoneofthegreatestcriticalrealistsof19thcentury.WilliamMakepeaceThackeray(178Importantworksandcharacters:“TheSnobsofEngland”“VanityFair”(ANovelWithoutaHero):AmeliaSedley,RebeccaSharp,RawdanCrawley,GeorgeOsborne,CaptinDobbinImportantworksandcharacter79VictorianWomenWritersWomenQuestion:sexualinequalityPetitiontotheParliamentadvocatingwomen’ssuffrage選舉權(quán)asearlyas1840Chiefconcerns:Howwomenwereregarded®ardthemselvesVictorianWomenWritersWomenQ80JaneAusten(1775-1817)

atherbestinwritingaboutyounggirlshasatalentfordescribingtheinvolvementsandfeelingsofordinarylifeimportantworks:“PrideandPrejudice”(HerMasterpiece),“SenseandSensibility”,“MansfieldPark”,“Emma”,“Persuasion”

JaneAusten(1775-1817)at81CharlotteBronte(1816-1855)

acriticalrealist;characterizedbyherprofoundsympathyforthepoorandthesuppressedandhercriticismoftheinjusticesinhersociety.importantworksandcharacters:JaneEyre:JaneEyre,Mr.RochesterShirleyCharlotteBronte(1816-1855)

-82EmilyBronte(1818-1848)

apoetandnovelistthemostgiftedoftheBrontesisters;ChieflyrememberedastheauthorofthepowerfulnovelWutheringHeights

whichisregardedasoneofthemostextraordinarybookswhichhumangeniushaseverproduced.Thecharactersofthenovelare:Heathcliff,Catharine,Hindley,Linton,IsabellaEmilyBronte(1818-1848)

83Mrs.Gaskell(1810-1865)

acriticalrealist;oneofthefirstEnglishwriterstodescribetheclassstrugglebetweentheworkersandthecapitalists.Herworksarecharacters:HungryFortiesMaryBarton:JohnBarton,MaryMrs.Gaskell(1810-1865)

a84GeorgeEliot(1819-1880)realname:MaryAnnEvans,acriticalrealist;forthemostpartdescribingrurallife,dealwithmoralproble